Your Favorite White Boy

Readers may notice that YFWB looks a little worse for wear today. Due to some hosting fu*ckery, the original account has gone missing. Not to worry, I own the URL and I have all the archives backed up on another site. In the meantime, I've reproduced my last few posts so you all don't miss a step.

We should have everything restored soon.

Having just got out of a screening of the Notorious B.I.G. biopic Notorious, I was surprised at all the thoughts and memories that came flooding back to me surrounding that particular time in my personal hip-hop history. While I feel that the flick did Biggie's life and story justice, I'm hoping I can do the same here with my personal tale.

I'm no different than a million other heads when it comes to how I see Biggie: one of the greatest that did it, or will ever do it - period. But we all throw those words and phrases (G.O.A.T) around without ever really qualifying it. Like any musician, there are a gang of different ways Biggie could be defined as great: his flow, his personality, his ability to craft a song. But oftentimes, what makes an artist really great are the intangibles - the way that their music makes you feel.

Watching Notorious tonight brought me right back to that time when Biggie was about to blow. I always enjoyed Dre, Snoop and the West Coast, going back to N.W.A. At the time, they were changing the game, for better or for worse, with their G-Funk formula. I loved it. But in my heart, I have always been an East Coast cat. I believe that a person's overall tastes are largely shaped by early influences. Mine were Run DMC, BDP, Public Enemy, EPMD. That's where my love of hip-hop started.

When I spun Ready To Die for the first time, it was like that love had been reborn. Even though there was some fantastic music out at the time, there was nothing that could go head to head with the West. As song after song came out of the speakers, every element that makes hip-hop so unique was there: hard, but melodic beats, dope party jams and of course, vivid storytelling using ill wordplay.

B.I.G. brought back the idea of a true MC - he dropped verses for days, but did it in such an entertaining way, his reach went far beyond hardcore fans. Everyone I knew, regardless of background - any a lot of my people are far, far removed from anything hip-hop - knew the lyrics to "Juicy" and "Big Poppa".

I had seen it before, but this was some of the strongest illustrations of the power and appeal of rap music. While only true heads could appreciate how good this man on the mic really was, those with even a rudimentary knowledge of rap music knew the name Notorious B.I.G. Through sheer ability, Biggie had made sure everyone had felt his presence that year.

No matter who they are, when an artist first starts out, you take them for granted because you look at the Rolling Stones and figure they'll be around to be old, old men doing legends tours or they'll be like countless other rap pioneers and eventually fall off. I certainly felt that way with B.I.G. I figured I'd get at least 3 or 4 great albums out of him before he was done, so I moved on to other new releases while I waited for him to drop new material. If only I knew.

I remember hearing buzz about his new album and I was getting excited as the release date got closer. At the time, I had to go to special spots to get hot mixtapes (actual tapes mind you) and the B.I.G. features just whetted my appetite for more. There were no leaks or downloads, and the only radio station around played too much R&B for me to tolerate while I waited for the next hot hip-hop joint. But I had heard "Hypnotize" and I knew Biggie was about to take over again. I was ready.

I came home late from work on the evening of March 9th, 1997. I was a student at the time living at my parents' house in our nation's capital and I worked part-time to pay my living expenses. A cliche, but I still remember that night like it just happened. My Moms was watching the late edition of the news and a story came up at the end of the broadcast that Biggie had been shot and killed in L.A. I had literally just came in the door. I dropped my bag and sat on the couch for a good 10 minutes, in silence.

While my Mom was asking me what was up, all I was thinking was "no more albums". Cold, yes - but that's how a young suburban cat from Ontario, Canada knew Christopher Wallace. I was shocked. Like many others, I figured the untimely death of Tupac Shakur put an end to all this East/West bullsh*t. I never thought it would claim the life of one of its greatest stars.

I didn't really understand the magnitude of his absence until Life After Death came out. Listening to that album was - and still is - bittersweet. I loved it, but every time I listened to it, I felt that much worse that Biggie would not be around to grow as an artist and really take himself, and hip-hop, as far he was undoubtably going to. One only needs to listen to "Sky's The Limit" to realize that Biggie was evolving as a person and that this was only the beginning. Only we now know that it was, in fact, the end.

I feel blessed to have been a fan at the time when the world discovered the Notorious B.I.G. When you're a fan of hip-hop before it truly went mainstream - back when you'd throw on a rap record and your friends and family look at you like you've completely lost your mind - you feel like you're holding on to an incredible secret. You know what you have, but others don't.

As such a fan, to see hip-hop become so accepted and respected is like watching a child come into their own: you always knew people would appreciate them once they knew them like you know them, but you always worry that they will be rejected by close minded people who never have and never will get it.

Biggie was our ambassador to the world. He was the one we could point to when we were trying to explain to the uninitiated why we love this music so damn much. He made them believe. He fulfilled rap's potential. And just like that, he was taken from us.

After watching Notorious, I was once again reminded of exactly what I lost that night. But at the same time, I was reminded why I came to value it so much in the first place. I'm glad som man people have a chance to hear his story.

Rest in Peace, Christopher Wallace. And thank you.

They say confession is good for the soul. Today we offer another installment of The Confessional, a new feature on Your Favorite White Boy, where your man B-Double will be confessing certain things that he would not dare bring up in the company of his hip-hop brethren.

Bless me Reverend Run for I have sinned.

It's been 7 days since my last confession.

With only a few days until the inauguration of President Elect Barack Obama, I thought it would be appropriate to raise a subject that I never talk about in this space and likely never will again: I am a hip-hop Republican.

Now, not being from the U.S., its more accurate to say that I'm a hip-hop conservative (specifically, more of a fiscal conservative than a social conservative). Of course, we all know when the media says "hip-hop Republican" they mean "Black Republican". A quick look at the URL up in your browser will tell you that's not what I mean. What I mean is that my politics are conservative.

I've been a hip-hop head longer than I've been a declared conservative, so I can same with some authority that the general politics of rap is somewhere on the Democratic side, firmly to the left. And frankly I understand why - the GOP has never been known for policies that address the issues hip-hop does: poverty, social justice, environmental degradation, racism, equality. Instead, the GOP has been more known to defend corporate interests, rather than community ones. With that in mind, some of you may be wonder how someone with my views could listen to and thoroughly enjoy music that would seem to often be at odds with my own political philosophies.

Sure, like most heads, there are some lines that I disagree with. But hip-hop and traditional conservative ideals (as opposed to the current high-spending, rights-snatching, religious right George W. Bush GOP the U.S. currently enjoys) have more commonalities than you might think. In honor of the bipartisan spirit President-elect Obama is looking to create with his administration, here are some perspectives both hip-hop and conservatives share:

Distrust Of Government
You may not know it by looking at the last federal budget, but we conservatives generally like smaller government. I don't believe that government is the answer; in fact, it usually makes the problem worse. Like many other heads, I would prefer they just let me alone. With my rather large libertarian streak, I don't assume that government authority, whether that is the police or the President, is looking out for my interests.


Proponents of Free Speech
It may seem obvious that the party of old white guys would be the natural group to try and restrict artists from speaking their mind. Not so. For example, who is responsible for the "Parental Advisory" stickers on every album with explicit lyrics? Tipper Gore - the wife of the former Democratic Vice President. Now, I can only speak for myself, but I think freedom of speech is one of the most important fundamental rights we enjoy. Short of hate speech, I will always defend the right for artists, bloggers, journalists and citizens to say what they think, whether I agree with it or not. So do many conservatives.

We're About Getting Paid
One of the things I dig most about hip-hop is the entrepreneurial spirit of it all. I love meeting and working with folks who have the drive to get paid. In fact, many conservatives work to support people and organizations trying to get their own spot. I know that conservatives are generally seen as defenders of corporate interests (think Enron, Wall Street, etc) but there was a time when folks like me were the defenders of the little guy trying to make it. In fact, that's where I generally cast my lot now.

I feel no shame in saying that I'm ALL about getting paid and improving my situation. And I respect and support any and all who are trying to do the same. And, of course, we all want to pay less taxes.

So, there you have it: the first and last time I will be talking politics on YFWB. In many ways, I feel very much at home with the philosophies and points of view of rappers and hip-hop fans, which is why I am proudly a conservative and a fan of rap music.

On the personal tip, I wish President Obama and his supporters luck. Enjoy the inauguration.

In the name of God's Son, Father MC and the Holy Ghostface.

With Obama about to be sworn on as President, there is much media coverage over the legacy, such as it is, of George W. Bush. Over these last 8 years, you'd think that people would have learned from this man's (many) mistakes. Instead, here we have Saigon declaring war on Joe Budden after he caught feelings over a supposed dis Joey Jump Off made on wax a while back. Saigon responded and then Joe went all in. So now its on, according to Saigon.

Unfortunately, it looks like Sai hasn't learned from W., because he's gone right ahead and made a lot of the same mistakes Bush did with the Iraq war. Let's see how Saigon is acting just like the soon-to-be former Commander-In-Chief, i.e. dumb as hell:

1. Declaring War Under False Pretenses
Just like George, Saigon is trying to muster support for this beef by claiming it is imperative that he strike back from a supposed "attack." In this case, like the WMD mess, its a pretty weak, maybe even non-existent, argument for going to war. To state that the beef is on because Budden said he'll "hit and run like he's Saigon" (a reference to smacking up Prodigy and taking off, which Saigon admitted he did), it makes it pretty clear Sai is doing it for other, self-interested reasons. Sound familiar?

2. Picking An Undeserving Target
Everyone knows Iraq should never have been a central target in the "War On Terror." Similarly, I think the hip-hop community collectively rolled their eyes when Saigon declared that he would be looking to end Joey's career. Especially when "A Letter To Saigon" was more of advice from an older head than a straight dis. When heads make lists of rappers that need to hang it up, Joe is not usually on the list. You on the other hand....

3. Using War To Increase Sagging Popularity
War Presidents always get good poll numbers. George W and his pops enjoyed huge popularity after war was declared. And we all know that one of the tried-and-true ways to get your rap career hot again is to be a party to (and win) the biggest beef at the time. But just like real war, fatigue sets in quickly. Unless your cause is true (see Points #1 and #2), heads, like everyone else, will tire in short order. And if you went to war for the wrong reasons, people will just think you're foolish (at best).

4. Being Overly Aggressive
As we've seen with Bush, acting like a testosterone-flooded cowboy is played out. Whether you're waterboarding your prisoners, spying on civilians or shelling foreign populations, intentional aggression is not the business. The smart cat uses the right tactics to air their opponent out. Going nuclear over a supposed bitchslap just isolates you - and its a stupid career move, especially if you can't back it up.

You'd think Sai would realize that there is little appetite for Bush-like tactics in 2009. Saying you'll beat him on sight? That you'll end his career? Over this? You know what they say about bullies, right? They're overcompensating for being soft.

Sai, I'd like to think that you're a smart dude, evidence to the contrary. Learn from history; don't end up like the 43rd President.